I paint works conceived to operate beyond the white cube.

I make materially dense abstract paintings built to last—visually, physically, and conceptually. They don’t rely on an exhibition text, a trend cycle, or a specific room to “work.” They hold their own: in a collector’s home, a hotel, a corporate space, or an institutional program.

Most contemporary art is still presented in short, event-driven bursts. That system creates visibility, but it often rewards novelty over longevity. My practice is the opposite: it’s constructed for duration. Each painting returns to a stable language—layer by layer—so the work can evolve through variation, not reinvention. Repetition is not duplication here; it’s how difference becomes visible over time.

These paintings regulate attention rather than demand it. They don’t shout. They concentrate. The surface carries density, restraint, and a controlled pace that rewards sustained looking. In a collection, that means the work keeps revealing itself—across seasons, light changes, and years—without losing clarity or becoming “background.” In architectural settings, it shapes rhythm and perception without turning into décor.

My process privileges accumulation over spectacle. I build structure through layered decisions: balance, tension, pressure, and release. I work with restraint as a discipline—so the painting stays coherent as scale expands. What matters is consistency: a recognizable visual intelligence, executed with control, that holds value across contexts.

Continuity is part of the work’s infrastructure. Each piece is documented with stable titles, dates, dimensions, materials, and installation views. This supports collector confidence, curatorial readability, and long-term stewardship. The aim is simple: paintings that remain legible, strong, and alive—no matter where they live, and no matter when they’re viewed.